Blog Post 3: The Creative Process and an Artistic Collaboration
Welcome! I hope you enjoy my third post in the series: From Concept to Creation: A Deep Dive into the Artist-Client Commission Journey.
In the previous entry of this series, I explained that my standard metalforming techniques were inadequate for achieving the intricate detail the client desired. The client requested a piece that would mimic the appearance of a painting, presenting several challenges for me: and so the questions I needed to address were:
After conducting extensive research and the artist Norman Ackroyd was an inspiration to me, so I opted to etch the copper panels. That was my second question answered. Although etching was a novel process for me, it is a technique with a long history. The practice of etching originated in the fourteenth century as a method for decorating armor. It was now essential for me to embrace this challenge.
The Metal Etching Process on Copper
Metal etching on copper is a meticulous and artful process that involves using chemicals to carve intricate designs into the metal surface. Here’s a detailed description of the steps involved:
Preparation of the Copper Surface:
Cleaning: The copper sheet is thoroughly cleaned to remove any grease, dirt, or oxidation. Ensuring a clean surface is crucial for the etching process to work effectively.
Drying: After cleaning, the copper is dried completely to avoid any water interfering with the next steps.
Applying the Resist:
Resist Application: A resist, which is a material that resists the etching solution, is applied to the areas of the copper that should remain untouched. This can be done using various methods such as painting on a resist with a brush, using a resist pen, or applying an adhesive resist film. I opted for the resist pen, the artisanal equivalent of a marathon, and trust me, I went through them like a kid with candy.
Design Transfer: My hand-drawn designs were applied using these pens in a reversed, mirror image format.
The Etching Process:
Etching Solution: The prepared copper plate is then immersed in an etching solution, typically ferric chloride for copper. Ferric chloride reacts with the exposed copper, dissolving it and creating the etched design.
Monitoring: It is essential to carefully oversee the etching process to achieve the desired depth of the design. The duration of this process can vary significantly, ranging from a few minutes to several hours, influenced by factors such as the complexity and detail of the design, as well as the temperature and other variables. It is important to understand that this stage is critical; improper timing, whether too short or too long, can result in wasted effort and materials.
Halting the Etching Process:
Rinsing: After reaching the desired depth of etching, the copper plate is carefully extracted from the etching solution and thoroughly rinsed with water to halt the chemical reaction.
Neutralising: Following the rinsing process, the copper is typically neutralised using a baking soda solution to effectively eliminate any remaining acidic residues. Additionally, it is important to completely remove the resist by employing appropriate solvents. Baking soda: the unsung hero of kitchen chemistry and copper artistry alike!
Finishing Touches:
Patination (Optional): To enhance the character and depth of copper, various treatments can be applied to develop a patina, which alters the metal's colour. However, I choose in this instance to maintain the natural hue of the copper.
Sealing (Essential): Applying a high-quality clear sealant is crucial to protect the etched design and ensure the preservation of the copper's appearance.
As previously mentioned, I am not a portrait artist, and I required assistance to achieve the intricate details necessary for this project. I reached out to portrait artist Emma Montonen, requesting her collaboration in creating drawings from reference photos and enhancing rough sketches I had prepared for the etchings on the Viking-themed copper panels. Emma developed several Celtic-Scandinavian patterns, and her "Odin’s Chain" was particularly detailed, significantly enhancing the visual impact of the artwork. This impact was further enhanced by her depiction and portrait of the Brian Boru image, Emma portrayed him with an expression of anger and battle-weariness, effectively conveying his strength and regal presence.
The customer wanted a viking font (I didn't know there was such a thing) to convey the old Norwegian name for County Wexford. The town was established by the Vikings around 800 AD and was originally named Veisafjǫrðr, which translates to "inlet of the mudflats."
The term "Veisafjǫrðr" has been documented with various meanings and spellings, according to my research. To ensure accuracy, I reached out to the Norwegian Embassy in Dublin for clarification. They were exceptionally helpful, consulting with two professors from Oslo University who specialize in Old Norwegian. Their expertise confirmed that both the spelling and meaning were correct. I extend my gratitude to them for their assistance.
Etching on copper is a delightful mix of creativity and science, turning an ordinary copper sheet into a stunning piece of art. This age-old technique still opens up a world of possibilities for today's artists, and I have to say, I'm absolutely captivated by how amazing this process is. Also, collaborating with another artist is highly beneficial, as working independently can often be challenging. It was invaluable to exchange ideas and insights.
In the final blog of this series, I will delve deeply into the valuable lessons learned throughout this creative journey, highlighting the insights gained from overcoming various obstacles and refining my techniques. Additionally, I will share the particularly challenging experience of presenting the completed works to the client, detailing the anticipation and preparation involved in ensuring that the final pieces met his expectations. This process included addressing any last-minute adjustments, managing the client's feedback, and the emotional impact of unveiling a project that had been weeks in the making. Through this reflection, I aim to provide a comprehensive understanding of the complexities and rewards of the artist-client commission journey.
Thank you for reading! I hope you found it engaging. Please browse through the images for some visual insight.